THE PIED PIPER'S POISON

Name: THE PIED PIPER'S POISON
Author: Christopher Wallace
ISBN: 1-58567-013-8

by Christopher Wallace ‧ RELEASE DATE: May 15, 2000

Unfortunately, with no evidence other than what Arthur, a less than reliable source, can offer, Wallace’s two plots don't...

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Uprooted by WWII, a strange group of sick refugees quarantined by the Soviets in southern Poland perplexes an innocent Scottish doctor, but a lack of historical perspective soon puts him out of his depth: a curious, splitscreen debut from Edinburgh author Wallace.

It's no fault of Rob Watts, fresh from med school in Glasgow in the first winter after the war, that he's too nice and naïve for the grim work of screening refugees, first in a medical camp in Berlin under the direction of senior physician Arthur, a burly American with inscrutable designs. Rob makes a go of it, playing bridge in his off-hours and humoring Arthur, his roommate, who cries himself to sleep nightly. Yet when the American sends him to Poland, where in the cellars of a ruined estate a steady number of the ethnic Germans who occupy the refugee camp die mysterious, rapid, horrible deaths, Rob is completely baffled. The Soviet doctor at the camp, an Englishspeaking, cultured man, hopes to while away the hours playing chess with Rob as they study the disease, though Rob finds another diversion, in the supple young form of one of the refugees. When Arthur arrives on the scene with his crackpot intensity, however, he produces a startling hypothesis, which explains both the disease and the parallel plot involving a once prosperous German town and the devastating Thirty Years War of the 17th century: the refugees are directly linked to the story of The Pied Piper of Hamelin, and their deaths are the revisit of an ancient curse first set in motion at the end of that long war, almost 300 years before.

Unfortunately, with no evidence other than what Arthur, a less than reliable source, can offer, Wallace’s two plots don't connect, and poor Rob, a handwringing, pleasureseeking lightweight, has precious little to contribute whether they do or not.

Pub Date: May 15, 2000

ISBN: 1-58567-013-8

Page Count: 298

Publisher: Overlook

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 2000

Categories:

LITERARY FICTION

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EAST OF EDEN

by John Steinbeck ‧ RELEASE DATE: Sept. 19, 1952

But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.

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Tremendous in scope—tremendous in depth of penetration—and as different a Steinbeck as the Steinbeck of Burning Bright was from the Steinbeck of The Grapes of Wrath.

Here is no saga of the underprivileged—no drama of social significance. Tenderness, which some felt was inherent in everything Steinbeck wrote, is muted almost to the vanishing point in this story of conflict within character, impact of character on character, of circumstances on personalities, of the difficult acceptance of individual choice as against the dominance of inherited traits. The philosophy is intimately interwoven with the pace of story, as he follows-from New England to California over some fifty odd years-the two families which hold stage center. There are the Trasks, brothers in two generations, strangely linked, strangely at war the one with the other; there are the Hamiltons (John Steinbeck's own forebears), a unique Irish born couple, the man an odd lovable sort of genius who never capitalizes on his ideas for himself, the tiny wife, tart, cold-and revealing now and again unexpected gentleness of spirit, the burgeoning family, as varied a tribe as could be found. And- on the periphery but integral to the deepening philosophy which motivates the story, there is the wise Chinese servant scholar and gentleman, who submerges his own goals to identify himself wholly with the needs of the desolate Adam Trask, crushed by his soulless wife's desertion, and the twin boys, Cal, violent, moody, basically strong enough to be himself—and Aron, gentle, unwilling to face disagreeable facts, beloved by all who met him. In counterpoint, the story follows too the murky career of Adam's wife, Cathy—who came to him from a mysteriously clouded past, and returned to a role for which she was suited—as a costly whore, and later as Madame in Salinas most corrupt "house," where the perversions of sex ridden males were catered to—and cruelty capitalized upon.Shock techniques applied with rapier and not bludgeon will rule the book out for the tender-skinned.

But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.

Pub Date: Sept. 19, 1952

ISBN: 0142004235

Page Count: 616

Publisher: Viking

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: Sept. 1, 1952

Categories:

LITERARY FICTION

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HOUSE OF LEAVES

by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

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An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.

Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.